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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Recital
DEDIK RECITAL MARCH 12 IN SPRING LAKE VILLAGE SERIES
by Terry McNeill
Monday, March 12, 2018
Pianist Anastasia Dedik has been an occasional North Coast visitor, playing with her Trio in Ukiah, and in recitals in Sonoma and with the Spring Lake Village series. She returned March 12 to Spring Lake (a retirement community, with Impresario Robert Hayden) in an abbreviated recital before a pack...
Recital
CHOPIN BALLADES FEATURED IN CONCERTS GRAND RECITAL
by Terry McNeill
Saturday, February 24, 2018
Pianist Nancy Lee Harper made an elegant North Coast debut Feb. 24 in the Concerts Grand House Recitals series in a private Santa Rosa home. Ms. Harper, for decades a performer and teacher in Portugal, has recently relocated to Northern California, played an all-Chopin recital that was comprehensiv...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recitalís trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlssonís titanic Liszt concert, and of course Lang Langís two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bachís violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighiís B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
RECITAL REVIEW
Mendocino Music Festival / Saturday, July 22, 2017
Molly Morkoski, piano

Pianist Molly Morkoski July 22 in Preston Hall

ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE

by
Saturday, July 22, 2017

Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethovenís Op. 27 Moonlight Sonata, Adamsí Phrygian Gates, a surprise add-on of Griegís Holberg Suite, and closed with Chopinís F Minor Ballade. If the event had been a horse race the audience would have been jumping to their feet with excitation at certain moments and ripping up their betting receipts at others. But thatís how great racehorses are; their unpredictability makes them exciting, but also makes the slightest stumble nearly heartbreaking. And so it was at this concert before a Preston Hall audience of 150.

Ms. Morkoski was slow out of the gate with the C-Sharp Minor Sonata, and rendered a journeyman interpretation without much nuance. The triplets of the first movement sounded a bit plodding, as the artist kept reminding the audience of the beginning of each triplet with a heavy thumb. The second movement improved with good phrasing and moderate pace. The artist had explained to the audience in brief pre performance comments that the piece picked up steam from movement to movement with the third and final movement to be performed at a brisk pace. And so it was with her performance, except that as a consequence it was hard not to find the third movement more than a bit rushed. While in this and the pieces to come Ms. Morkoski demonstrated ample pianistic technique, her musicality at times seemed to suffer as a result. This burst of speed so early in the ďraceĒ may have been an unwise expenditure of energy without pianistic result and may have tired her by the concertís finishing chords.

It was with the Phrygian Gates where Ms. Morkoskiís interpretation shined. It was clear from the start that she had applied her interpretive skills to fashion a performance that showed the grand arc of the 27-minute piece. Despite its constant repetitive notes, the piece is compelling and holds the listenerís rapt attention. The playing here was superb with contrasting dynamics and extended phrasing that few performers are able to project to a pulsating effect. It is also a piece that requires pianistic endurance. The afternoonís performance could not have been better. It was electrifying and was clear with the Adams, written in 1978, that she had really reached her stride.

After intermission Griegís Holberg Suite, Op. 40, was a charming add-on. Ms. Morkoski planned the concert without an intermission and so had not included it, and told the audience that given there was an intermission she wanted to be sure they would come back with the addition of the Grieg piece, written in 1884. No enticement was necessary and the audience was given a special treat. Here Ms. Morkoski seemed to take a breath and pace herself as if on the back race straightaway holding her position, taking time for trills and couplets and careful articulation, even in faster passages. Originally written as a piano piece but popularized as a work for string orchestra, the Suite of five dances offers beautiful melodies combined with signature Grieg harmonies. The piece was actually written to be in Baroque style and Ms. Morkoskiís playing made one feel as if they had traveled back in time to a less rushed and more contemplative era. The sellout audience provided boisterous applause.

The closing Chopin Ballade in F Minor, Op. 52, got off to a false start. After debating whether to play from memory or use a score, the pianist decided to play from memory but soon faltered. She stopped, commented that she was tired, and started the piece over with the score. However, for whatever reason, fatigue or otherwise, the playing of the Chopin was uninspiring. The Fourth Ballade is one of Chopinís greatest works for piano, not as technically challenging as the 27 Etudes but full of communicative challenges that require a quiet energy that underpins the strong emotional content. Here Ms. Murkowski seemed to simply run out gas as she quietly crossed the musical finish line with nothing more to give.

On another day she might have finished with more security, but there was no doubt that she is a serious artist and impressive in selected repertoire. No encore was offered to the appreciative audience.